Listed in: Philosophy, as PHIL-467
Formerly listed as: PHIL-67
Joseph G. Moore (Section 01)
Music is sometimes described as a language, but what, if anything, does Charlie Parker’s “Ah-Leu-Cha” say to us? If music isn’t representational, then how should we understand its connection to the various emotions that it can express and invoke? (Or maybe these aren’t genuine emotions: Samuel Barber’s Adagio for Strings is widely described as sad, but what exactly are we--or is it--sad about? And why would we choose to listen to Mozart’s Requiem if it genuinely terrified us?) Perhaps our musical descriptions and experiences are metaphorical in some way--but how, and why?
What exactly is a musical work anyway? Where, when and how do “Summertime,” or “Stairway to Heaven,” or “Shake Ya Tailfeather” exist? And what makes for a performance of one or the other (or of no work at all)?
What, if anything, guides a proper “listening” or understanding of a musical work? Does it require knowledge of relevant musical and cultural conventions, or of the composition’s historical context, or even of the composer’s intentions and guiding aesthetic philosophy? (Think of gamelan music; think of the Sgt. Pepper’s album; think of John Cage.)
What determines whether a work, or a performance of it, is good? What role is played by beauty, grace, intensity and so on? And how objective are these aesthetic properties? Finally, why do we sometimes find music to be not just enjoyable, but intensely moving and even profound?
Requisite: Two courses in Philosophy or consent of the instructor. Limited to 15 students. Spring semester. Professor Moore.
If Overenrolled: First declared Philosophy majors, then seniors, then juniors, then sophomores, then 5-college students